建构与层累:汉末以来董奉形象变化考述

董奉是一位汉魏之交长期活动于江南一带的民间巫师,在庐山归隐终老后,被后世塑造成一位道教仙人的形象,与华佗、张仲景并称"建安三神医",其标志性符号有"福山"杏林"等。然而,董奉的形象并非一直以"神医"得以彰显,而是经历了从神仙到神医的转变。自汉末以来,董奉的人物形象经历了三次建构:从葛洪《神仙传》中的道教仙人形象记载,到唐宋时期对其仙人身份的官方敕封和道教徒推广,再到元代以后逐渐由文人士大夫对其医者形象的再次书写,董奉的形象经历了民间巫祝—官封神灵—仁心良医的转变。董奉形象的第一次建构缘于早期道教争取官方与民间支持的发展策略筹划;第二次建构则缘于唐宋时期国家意志与地方传统结合下地方宗教对合法获得收益与支持的认识实践方式;第三次重构的原因主要是元明时期医者地位的提升,以及文人士大夫赞誉医者或借喻标榜自身德行的儒医结合倾向的具体表现。但在这几次形象建构中,董奉的超自然属性没有随着时间的推进而有新的神迹,而且因后人加注而屡遭失载,进而限制了董奉信仰的广泛流传。经过这三次人物形象建构后,与华佗、张仲景不同,董奉在元代之后甚至未成为十大名医配飨三皇。而民间、官方对董奉的态度,也从魏晋时期的民间崇拜,至唐宋时期官方认可并大加敕封,南宋后已变为"事迹失注",最终成为元以来文人士大夫赠答歌颂的良医标杆,并被固定下来至今日。在董奉人物形象的塑造过程中,完成了从神仙到神医的转变,体现了历史人物建构的复杂过程。

Study on the doctor image of Dong Feng

Dong Feng was born at the turn of the Han and Wei dynasties. As a folk wizard, he had been active in the Jiangnan generation for a long time and lived in seclusion in Lushan Mountain until his death. Later, he was shaped into the image of a Taoist immortal. He was also known as the "Three Miracle Doctors of Jian’an" together with Hua Tuo and Zhang Zhongjing. His iconic symbols include "Fushan" and "Xinglin". However, Dong Feng’s image has not always been shown as a magic doctor, but has experienced a transformation from a god to a magic doctor. Since the end of the Han Dynasty, Dong Feng’s character image has gone through three constructions: from the Taoist immortal image in Ge Hong’s The Legend of Immortals, to the official edict and Taoist promotion of his immortal status in the Tang and Song Dynasties, to after the Yuan Dynasty Gradually, the image of Dong Feng as a doctor was re-written by literati and doctors, and Dong Feng’s image experienced the transformation of folk sorcerer, official deity and benevolent doctor. The reason for the first construction of Dong Feng’s image lies in the planning of the development strategy of early Taoism to win official and private support. The construction of its second image was due to the way in which local religions understood and practiced legitimate gains and support under the combination of national will and local tradition during the Tang and Song Dynasties. The final reason for the third reconstruction was mainly due to the improvement of the status of doctors during the Yuan and Ming Dynasties and the concrete manifestation of the tendency of literati and doctors to combine Confucianism and medicine by praising doctors or using metaphors to flaunt their own virtues. However, in these several image constructions, Dong Feng’s supernatural attributes did not have new miracles as time went on, and they were repeatedly lost due to later generations’ additions, thus limiting the widespread spread of Dong Feng’s beliefs. After these three character image constructions, unlike Hua Tuo and Zhang Zhongjing, Dong Feng did not even become one of the top ten famous doctors who served the Three Emperors after the Yuan Dynasty. The attitude of the people and the government toward Dong Feng also changed from folk worship in the Wei and Jin Dynasties to official recognition and enshrinement in the Tang and Song Dynasties. After the Southern Song Dynasty, it changed to "lost notes" on his deeds and finally became a tribute to literati and officials since the Yuan Dynasty. The benchmark of good medicine has been fixed to this day. In the process of shaping Dong Feng’s character, he completed the transformation from immortal to miraculous doctor, reflecting the complex process of constructing historical figures.